Elsewhere I have waxed lyrical about the working of thread into fine material as a most appropriate metaphor for the creative process. A finely crafted tapestry may be the outcome. Fifty years ago another tapestry was stitched, one of word and music; fine threads with names like “Will you love me tomorrow”, “It’s too late”, “I feel the earth move”, “You’ve got a friend”; all brought together to produce a work of beauty – Carol King’s “Tapestry”. Reluctantly I give away my years, when I say how much this album meant to me as a young thing. May I say very young! And to mitigate more, perhaps my recollections are from a time just a little after its first release.
In the above linked tribute in The Guardian, beyond the artistry of the music and lyrics, Rickie Lee Jones mentions the cover (here’s a Wiki link, as the copyright on the artwork seems unclear), and I too have it etched upon my brain – barefooted, jeans clad, long locks, the direct gaze that seems to say politely but firmly “I have to get back to my work!”. A window seat seemed to me one of the higher forms of luxury. Looking at it again, the vinyl of days gone by replaced with a CD picked up along the way, I see my memory deceived just a little because for some reason I remember a guitar and not a cat. King’s cat was named Telemachus. Penelope it was who weaved and weaved as she awaited Odysseus’ return, defending with her wits and industry the honour of her son and family.
Carole King’s work is on Spotify and most every other platform, and here is her official website with, amongst other things, announcements around and about the anniversary – which includes the release on YouTube of videos (see above) from the BBC studio concert given shortly after “Tapestry” came out.